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Literature Text
We met outside the morgue. You were there with your hair too bright and clothes that we had fought over that very morning. You were crouched, your body looking impossibly small and broken.
You can't wear that out. You look like a prostitute.
I'm eighteen years old Mum, I can wear what I like.
All at once you were the brand new baby that I had held in my arms, sobbing over the tiny miracle that your Father and I had never thought possible. Then, you were five years old, and it was time to begin school. You had looked up at me with big green eyes and a serious smile as you proved over and over that you could fasten the Velcro on your brand new shoes.
You smiled at me now, outside this place that we didn't belong in, and I saw the stabilisers that Gary had taken from your bike. He had watched you cycle down the road, ten years old, the proudest Father at that moment in time. I could tell you that he hid tears from you that day. But I don't.
Instead I ask you how your day was, and you smile at me again. The noises around us are fading in and out. In and out. The sounds of the hospital are quiet when you smile. As the tears fall from your eyes though, they get louder. I wish that everybody would quieten so I can hear your voice, hear what you so desperately want to say. What I so desperately want to make up any reply possible to.
You grab my hand and whisper now, I'm scared Mum.
I try to smile, try to reassure you. Try to give you the world and everything else in my power but that's not happening anymore. Someone opens the door and says, Can you identify the bodies now please? It's a warm voice, full of sadness and regret, but with a firmness that can't be ignored. We all step through the doors together and the cold air hits. You shiver and for a second my heart leaps at this ordinary, humanistic thing.
This is too cold to be hell. You joke, your bright hair swinging past your face as you laugh lightly.
I don't smile, the white sheet-covered bodies lying side by side cannot make me smile. We move forward together, our hands still entwined.
I'm so sorry for your loss the woman mutters but we don't see her now.
Gary is behind us, he's sobbing and I know it's the first time you ever saw him do that. His grief is infallible. The woman, the only woman of living flesh in his life now, peels back the sheets without asking his permission.
We lie there, you and I.
I wonder if you knew all along that this was our existence now. That we had become another news headline, another fatality and another statistic.
I didn't tell you before, because I didn't want it to be true. I whisper to you achingly. The reality was that I hadn't told you because I didn't want you to be mad at me. I wanted us to do this together, bound by love instead of fear.
We are the testimony of our family car now broken in two, three, four thousand pieces. Your face is no longer perfect and mine is no longer there. Gary's eyes cast over the rings on my hand and my mind sprints back to that day twenty years ago. He looks at me now and if I had eyes, I would have gazed back at him fiercely. But there is nothing left. He can't grasp that these bodies are his girls. There is no recognition on his face.
I take your hand silently and we slip into ourselves without looking back. This is our place. We are no longer of this world. Together, we become a lifetime of grief.
You can't wear that out. You look like a prostitute.
I'm eighteen years old Mum, I can wear what I like.
All at once you were the brand new baby that I had held in my arms, sobbing over the tiny miracle that your Father and I had never thought possible. Then, you were five years old, and it was time to begin school. You had looked up at me with big green eyes and a serious smile as you proved over and over that you could fasten the Velcro on your brand new shoes.
You smiled at me now, outside this place that we didn't belong in, and I saw the stabilisers that Gary had taken from your bike. He had watched you cycle down the road, ten years old, the proudest Father at that moment in time. I could tell you that he hid tears from you that day. But I don't.
Instead I ask you how your day was, and you smile at me again. The noises around us are fading in and out. In and out. The sounds of the hospital are quiet when you smile. As the tears fall from your eyes though, they get louder. I wish that everybody would quieten so I can hear your voice, hear what you so desperately want to say. What I so desperately want to make up any reply possible to.
You grab my hand and whisper now, I'm scared Mum.
I try to smile, try to reassure you. Try to give you the world and everything else in my power but that's not happening anymore. Someone opens the door and says, Can you identify the bodies now please? It's a warm voice, full of sadness and regret, but with a firmness that can't be ignored. We all step through the doors together and the cold air hits. You shiver and for a second my heart leaps at this ordinary, humanistic thing.
This is too cold to be hell. You joke, your bright hair swinging past your face as you laugh lightly.
I don't smile, the white sheet-covered bodies lying side by side cannot make me smile. We move forward together, our hands still entwined.
I'm so sorry for your loss the woman mutters but we don't see her now.
Gary is behind us, he's sobbing and I know it's the first time you ever saw him do that. His grief is infallible. The woman, the only woman of living flesh in his life now, peels back the sheets without asking his permission.
We lie there, you and I.
I wonder if you knew all along that this was our existence now. That we had become another news headline, another fatality and another statistic.
I didn't tell you before, because I didn't want it to be true. I whisper to you achingly. The reality was that I hadn't told you because I didn't want you to be mad at me. I wanted us to do this together, bound by love instead of fear.
We are the testimony of our family car now broken in two, three, four thousand pieces. Your face is no longer perfect and mine is no longer there. Gary's eyes cast over the rings on my hand and my mind sprints back to that day twenty years ago. He looks at me now and if I had eyes, I would have gazed back at him fiercely. But there is nothing left. He can't grasp that these bodies are his girls. There is no recognition on his face.
I take your hand silently and we slip into ourselves without looking back. This is our place. We are no longer of this world. Together, we become a lifetime of grief.
Literature
Four-Letter Poems
We try to recombine each other,
to overwrite the coding of us constantly-
yet I've never been good at Scrabble
And I can't make poems out of four letters,
(not alone).
Hackers, we've corrupted this sourcecode
Attaching and removing strings
So long and repeteadly it feels like forever;
And now and then it is
Like we're decorating a Christmas tree
But we lost all sense of beauty.
we have tried. I feel my insides
A festival of scars and tentatives of surgery;
enzymes, our guests, look for those special seats that
Have a name and a shape fitting them only.
And they will cut up their fabric and
tear apart their old, tired cushions
Literature
four thousand and one
i've smoked about four thousand
cigarettes this year and i still see nothing
but ash and empty packs. i had a lot to learn.
i didn't learn any of it.
all was funeral gray and washing dishes till
my fingers felt like land mines. we were
not finished being dumb when you died
and i found out that night under the speckled
window lights still on how those lights could
look like stars if we looked at them in just the right
way--
and i didn't believe you were really
dead, not then because i couldn't shake
those two in the morning smokes
all summer while you drank
your beer and i my diet coke and
talked about nothing in particular
Literature
Roadmaps
I have traced my fingers along,
following undulating roads
on faded parchment maps but
there is no X
to mark the spot
where you should be.
I have pushed my way past
half-lit tunnels of willow
leaves, tread over mossy rocks
and overturned each one,
searching for clues, arrows.
I have mapped the stars and
their trails that I might
never be lost - but I am wandering
all the same without
you.
I have studied each roadsign;
followed each one
to its dead end
and U-turned back
to where I started.
I have traced my
footsteps,
over and over,
searching for the place
where I lost my way,
but there is no path back
to you.
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I wrote, again. I haven't done this for a while! This was inspired when I read a short article in a lifestyle magazine about the court case that was still ongoing to prosecute a Man who had killed his Wife and Daughter in cold blood. This isn't about that. I was just inspired by the combined death, of whether the bond would exist between Mother and Child when they were no longer breathing. I wanted them to meet at the Morgue, to make that transition together. I hated the fact that they might have had to do it alone. I guess I was feeling morbid today
Making notes as I'm being given feedback:
Scene setting - scent e.t.c
Sentence structure at the beginning
Use of the word Quieten
'As the tears fall from your eyes' cliched
Use of humour
Ending - giving away too much
Making notes as I'm being given feedback:
Scene setting - scent e.t.c
Sentence structure at the beginning
Use of the word Quieten
'As the tears fall from your eyes' cliched
Use of humour
Ending - giving away too much
© 2011 - 2024 Kaz-D
Comments29
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Pieces about death, about looking down at your own body and watching your loved ones cry over you, are the hardest to write and do it well anymore. It's become a type of cliche. You get the out-of-body experience, the feeling of something not right, the weeping mourning loved ones, the despair and the heartache and the speaker constantly claiming that it just can't be happening, they just can't be dead, there's no possible way.
You've done a good job at making something everyone writes about into something all your own here. I like the flashbacks you've included; they're the usual family-drama-my-baby-is-growing-up moments, but the comedy in them is lovely in this piece. I also really enjoyed that you didn't tell your readers the two women are dead right away; for a long moment, I was certain that they were the ones who were supposed to be identifying the bodies.
On that same topic, I'm not sure that the hint at humor is a good thing for this piece (that bit about it being hotter than hell?) That comment really seemed off to me--morgues aren't hot. In order to keep decomp at a minimum, the morgue is kept exceptionally cold. Like, freezing. So the comment about it being hotter than hell makes no sense, unless I'm reading it wrong. Which brings me to another point about that comment--saying she says after it confused me. I wasn't sure which she you were referring to; the nurse? The daughter? Who said it? I thought, the first couple of read-throughs, that the nurse was the one saying it, and it pissed me off. A nurse cracking jokes during Gary's time of grieving? How dare she?! But after reading it a couple more times, I realized it was actually the daughter saying it, not the nurse. You might want to work a little on that "She jokes" moment; make it more clear who it is that's talking. Plus, isn't hell supposed to be the absolute hottest place ever? I guess the joke didn't make much sense to me taken in context.
Regardless, this is a well-done piece, and I love the way you've written it. Lovely, lovely work on this! I find myself wishing it were longer...